Illustrations | |
Preface | |
Introduction | |
Artworlds and Definitions: How That Became Art | |
Art Honorific Definitions of "Art": The Open Definition: Classificatory Definitions: Aesthetics | |
Art Criticism | |
Interpretation and Judgment | |
Critics on Criticizing | |
Criticizing Criticism | |
Criticism and Aesthetics | |
Skepticism about Art, Aesthetics, and Criticism | |
Aesthetics, Art Criticism, and Visual Culture | |
Aestheticians, Artists, Critics, and Readers | |
Realism | |
Art Is Realistic, True, and Beautiful | |
A Brief Overview of Realism Plato | |
Works of Art | |
Critical Commentary on Koons's Work | |
Koons's Thoughts about His Own Work: Kitsch: Aristotle | |
Paintings | |
Critical Commentary on Rockman's Paintings | |
Rockman's Thoughts about His Own Work | |
Photographs by Andres Serrano | |
Critical Commentary on Serrano's Photographs | |
Pornography Obscenity and Censorship | |
Photography, Reality, and Truth | |
What Does It Mean to Say That a Work Is "Realistic"? | |
Conclusion | |
Realism and Artists | |
Realism and Artworks | |
Realism and Audiences | |
Expressionism and Cognitivism: Art Shows Feelings, Communicates Thoughts, and Provides Knowledge | |
Expressionism and Cognitivism Expressionist and Cognitivist | |
Theories of Art | |
Metaphor | |
Psychoanalytic Theory | |
Marxist Aesthetics | |
Critical Commentary on Mitchell's | |
Thoughts about Her Own Work: Mitchell and Expressionism: Louise Bourgeois, Sculptor Critical Commentary on Bourgeois's | |
Thoughts about Her Own Work: Bourgeois and Expressionism | |
Printmaker and Sculptor | |
Critical Commentary on Smith's Work | |
Thoughts about Her Own Art: Smith and Cognitivism: Expressionism and Artistic Intent | |
Limitations of Expressionism and Cognitivism Strengths and Weaknesses of Expressionism and Cognitivism | |
Conclusion | |
Expressionism, Cognitivism, and Artists: Expressionism, Cognitivism, and Artworks: Expressionism, Cognitivism, and Audiences | |
Formalism: Art Is Significant Form | |
Precursors to FormalismIs Beauty Objective or Subjective?: Early Formalism | |
Aesthetic Attitude and Aesthetic | |
Experience: The Sublime | |
Twentieth-Century Formalism | |
Early Modern Abstractionists | |
Malevich | |
Clement Greenberg | |
Paintings and Drawings | |
Critical Commentary on Martin's Work: Martin's | |
Thoughts about Her Own Work: Joel Shapiro: Sculptures Critical Commentary on Shapiro's Work: Shapiro's | |
Thoughts about His Own Work: Andy Goldsworthy: Environmental Sculptures Critical Commentary on Goldsworthy's Work: Goldsworthy's | |
Thoughts about His Own Work: | |
Formalism Strengths and Weaknesses of Formalism Conclusion | |
Formalism and Artists | |
Formalism and Artworks | |
Formalism and Audiences | |
Postmodern Pluralism | |
Art Destabilizes the Good, the True, the Beautiful, and the Self Precursors to Poststructuralism and Postmodernism | |
Friedrich Nietzsche: Critical Theory, the Frankfurt School, Neo-Marxism: Structuralism | |
Ferdinand de Saussure: Roland Barthes: Structuralism and Formalism: Poststructuralism | |
Feminism | |
Postmodernism | |
Postcolonialism | |
Cindy Sherman: Photographs | |
Critical Commentary on Sherman's Photographs | |
Sherman's Thoughts about Her Own Work | |
Cindy Sherman and Postmodern Pluralism | |
Lorna Simpson: Photographs with Words | |
Critical Commentary on Simpson's Work: Simpson's Thoughts about Her Own Work: Lorna Simpson and Postmodern Pluralism: | |
Performances, Videos, and Sculptures | |
Critical Commentary on McCarthy's Work: McCarthy's Thoughts about His Own Work: McCarthy and Postmodern Pluralism | |
Strengths and Weaknesses of Postmodernist Pluralism | |
Conclusion | |
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